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III. Les Rougon-Macquart. Describing the Weather – and a Changing Climate

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Literature and Weather
This chapter is in the book Literature and Weather
IIILesRougon-Macquart. Describing theWeatherand a Changing Climate1 From weather to climateThis third chapter differs from the two chapters preceding it in one centralaspect. In contrast to the readings of Shakespeare and Goethe, it is not dedicatedto the study of one single, exemplary literary text but instead attempts to tacklea complete, voluminous cycle of novels: Émile ZolasLes Rougon-Macquart. Withmy decision not to pick out one particularly pertinent novel but to focus on thecycle as a whole I am not merely adopting the intended scope of Zolas literaryproject or his own ambitions or reflections on it. Viewed more closely, thisdecisionis not at all of a methodological or strategic nature. It is rather guidedby thefindings which reading the cycle with my interest in the relation ofweather and literature has brought to light.In contrast to its role in GoethesWerther, the weather does not break intoZolas world as an unexpected event, as a foreign force that disrupts the dominantregime of representation and order. It does not make itself felt as a forgotten or,rather, repressed force at the underside of the enlightened world that turns outto be constitutive. In the novels of theRougon-Macquartthe weather and itsdefining notionstemperature, humidity, precipitation, cloudage and with itchanging conditions of light, but also the movement of water and the generalnotion of (seasonal) changeabilityare omnipresent. As the analyses of thefollowing sections will show, the world of theRougon-Macquartis not hauntedby the weather as the world of GoethesWertherwas, itisin actuality a world ofweather.Nevertheless, weather events play an important role in quite a number ofthe novels of theRougon-Macquart: the hailstorm inLa Terre, the snowstormsofLAssommoirandLa Bête humaine, the pouring rain in the climactic scenesofLArgentandUne page damour, only to name some examples of a muchlonger list. However, despite their primarily catastrophic nature, these instancesof heavy weather are not alien to the world they seem to haunt. On the contrary,they characteristically correspond to it: Mouche dies while the hailstorm destroysthefields outside; the snowstorm ofLAssommoirresonates with Gervaisesmisery, with her haunting the streets, being driven by her hunger to prostituteherself; the snowstorm ofLa Bête humainethat causes damage to the locomotivemetaphoricallyprepares the catastrophe of the disastrous accident that willfollow; inLArgentthe wet weather accompanies the crash of the stock exchange,https://doi.org/10.1515/9783110560978-004
© 2018 Walter de Gruyter GmbH, Berlin/Munich/Boston

IIILesRougon-Macquart. Describing theWeatherand a Changing Climate1 From weather to climateThis third chapter differs from the two chapters preceding it in one centralaspect. In contrast to the readings of Shakespeare and Goethe, it is not dedicatedto the study of one single, exemplary literary text but instead attempts to tacklea complete, voluminous cycle of novels: Émile ZolasLes Rougon-Macquart. Withmy decision not to pick out one particularly pertinent novel but to focus on thecycle as a whole I am not merely adopting the intended scope of Zolas literaryproject or his own ambitions or reflections on it. Viewed more closely, thisdecisionis not at all of a methodological or strategic nature. It is rather guidedby thefindings which reading the cycle with my interest in the relation ofweather and literature has brought to light.In contrast to its role in GoethesWerther, the weather does not break intoZolas world as an unexpected event, as a foreign force that disrupts the dominantregime of representation and order. It does not make itself felt as a forgotten or,rather, repressed force at the underside of the enlightened world that turns outto be constitutive. In the novels of theRougon-Macquartthe weather and itsdefining notionstemperature, humidity, precipitation, cloudage and with itchanging conditions of light, but also the movement of water and the generalnotion of (seasonal) changeabilityare omnipresent. As the analyses of thefollowing sections will show, the world of theRougon-Macquartis not hauntedby the weather as the world of GoethesWertherwas, itisin actuality a world ofweather.Nevertheless, weather events play an important role in quite a number ofthe novels of theRougon-Macquart: the hailstorm inLa Terre, the snowstormsofLAssommoirandLa Bête humaine, the pouring rain in the climactic scenesofLArgentandUne page damour, only to name some examples of a muchlonger list. However, despite their primarily catastrophic nature, these instancesof heavy weather are not alien to the world they seem to haunt. On the contrary,they characteristically correspond to it: Mouche dies while the hailstorm destroysthefields outside; the snowstorm ofLAssommoirresonates with Gervaisesmisery, with her haunting the streets, being driven by her hunger to prostituteherself; the snowstorm ofLa Bête humainethat causes damage to the locomotivemetaphoricallyprepares the catastrophe of the disastrous accident that willfollow; inLArgentthe wet weather accompanies the crash of the stock exchange,https://doi.org/10.1515/9783110560978-004
© 2018 Walter de Gruyter GmbH, Berlin/Munich/Boston
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